 all right as you say let's do this there's a ton of stuff so i'm gonna give you the major points here um so for you organ cycle the final version will be presented to quarter um responding to a bird i like that it's always good to add some variation in there um challenge names is fat belly oh yeah good though all right well to me and there's the multi camera version it's very cool i really like how you have this pointed out and then it comes in and then it comes out again and it comes in at a at an angle you know so it's not foot is not flat but it's actually like that to the ground it's great shoulders are great i would probably have only two comments here a couple action couple of more things on your foot here see when you go up it feels like if i'm tracking that controller and your ankle it goes up up up and then straight it has kind of a arc like that and you don't have to go that high you can soften that and make that more of an arc over there you know so it doesn't just go up and then over because you know it's it's a walk they're fairly lazy there's no reason to go so high up here so you can just roll and then immediately go down and maybe at this point the foot wouldn't be angled like this but even more so we have room to go down with the toes i would do that the bigger the biggest thing to me is that once this happens you know there's a lot of weights on here on that arm but when that happens this is totally locked so what i would do is keep those fingers closer together and then as you go into this pose and there's more pressure you can lower this so that you have this arm will be moved forward with a little bit of a bend in the in the wrist so that by the time you're here that's when your toes basically spread basically i'm looking for any type of compression see if i scrub through there's nothing going on in that wrist even when you do this and you move over and you have this alignment and before that it was like this your wrist stays like that on this pose you would have the pivot on the finger like that but then the wrist would be aligned with the forearm so the wrist has to rotate over this way that's the only thing it feels a bit too locked gets a bit to ik and yeah and then the head on the impact the head feels a bit ik so i'm looking at this and i see a lot of translate excuse me you want to hear that a lot sorry i'm still fighting last stretch of um sickness while my little baby is coughing next door anyway boom see on that i'm on those steps i wish on that the head would have a slight dip and a slight rotation with a slight rotation this way if that makes sense it's basically a real impact where every time it steps down the head rotates down but because of that you want to make it more complex it might have a slight rotation in y you know they move a little bit of an out and drag and tilt this way because of it and then catch up to your pose by here so it's just a bit more complex on that on that turn it's because right now doing moments like this this just feels very ik look at the shoulder moving everything and the head just kind of stays locked and there's not that much in the rotation wise very cool though i gotta say big fan and then you have the it's cool to see the top you too and it's actually the ik is even more pronounced through here that feels like the head just kind of glides across his neck so mechanics wise it feels just a bit broken and you can counter that with like reducing the ik translate and just adding more rotation during that moment but you can also see how the head physically goes kind of sticks a couple of frames here you know so careful about that well works great for me to be it's very cool it's a really really cool walk um you have still poses um resping as properly as a team to deform strangely in the spine deformations are okay you know unfortunately that would be something for the mentor i guess that's okay only if you can rotate that hip down more to get a bit more of a around the deformation there and of that dip it's kind of neat but this feels it almost was unnaturally straight and i don't know if you're you know if your hip is still aligned that way you need to have a slow rotation down that might help that section yeah i know there's something like you said the spine sections like even here occurs with that from the profile view but just feels so unnaturally this i kind of gets being so stiff because he's you know he's going out but then it feels like this feels from the side like you're just doing that straight down whereas if you roars um you know it almost have a slight foot roll and be more like that where you know it has a slight bend in the feet and you got the shoulders and it's you know so you have a bit more of a forward lean body body does this thing whereas this feels just a bit stiff so i would lean him forward which might help you know with that deformation there yeah again this is not not my department back and see your this those areas feel problematic especially here yes like some extra roll poses are cool but yeah i think you have identified the problem areas uh there is a spike shot all right close-up shots will be worth using in a reel at least on game reel any other thoughts minor changes if needed wait am i missing you talk about a close-up shot which is not in here so hold on all right i pause it for you nothing happened but i pause and check the other link and it's the same um you're probably just talking about this all right i suppose a close-up is that would be a framing for close-up this is a wide i think this is cute my thing would be which are that your feet don't go up straight like that on a jump you want your toes pointing down same thing here is all too flat very defaulty so even here you would have that or you go all the way up for like a big arc to have the foot plants on this here the foot seems really uh squished here in that area there so you would have to add a foot roll there so that the tibia is not completely flat on the foot you know and all polished off where i see a lot of knee movements you know the body's moving a lot but if i scrub through especially on this side there's nothing on on the foot there's no ambient movement you know if you move the legs can affect the foot a bit the biggest thing when i was watching is um was how these arms kind of feel a bit half ass the throw like he does such a it's a big pose it's presentational hey i have this and then this excited thing which i don't know for me you could probably bring that over that hand a bit lower so blinds up here to give you a nicer silhouette on that elbow maybe but the thing is after all this that throw seems so small you know as you do this i mean there's not any shoulders i guess but to me the throw this pose here almost go like this right so when you throw it's a bit more pronounced you could have um no so i can draw correct there you go i will rotate the body over so rotating the body over in y so that the foot might be you know into a foot roll like that this can still stay and then that elbow part is here so you have an open hand you know so you still have a silhouette and then that thing comes out throwing here that makes sense that's the biggest thing i would change the full step throw it's just mostly in his arm it doesn't really do much more in the head uh in the body then those arms feel a bit too twin at this point here they go up at the same time hanging poses and the same you don't quite finish the arc you go down and then stop you know that arm goes up down stop those little polished things here and there you know that exit it could be more interesting where see how you go out and he's always the same height eyes are the same you can take this and i don't know what the context is and what's going to happen but maybe by then imagine that you know if he's here he's actually lower all right so that eye ends up being there you go so maybe he's that low and he had he's starting to squint but again yeah the hat be lower so it's not that's the height right it's always the same but in your case that way it goes it goes down and the squinting of the eye because it does an overall post change as the exits that's my point for contrast and complexity this just feels like okay one pose up and down up and up and up and down up and down so this is extra polish you know that's probably what i would do all right then you have i mean this works the problem is a bit it's a bit far away i mean i know that's the angle but it kind of stays far away it's not you don't see that much it doesn't really help her silhouette but you could do something where your camera starts a bit more that's your uh finish line and they are coming and that's your camera camera could be maybe here on her and throughout the shot travel this way you know there's some foreground elements that move to get some complexity you know if i'm gonna show off the cycle that way maybe have a bit more dynamic camera move just a bit but it works it's cool to see and in this way front side view okay hold on i might have a different this is from presentation walk variation i don't think that was in the zip let me just check several links what is this it seems better at least you feel like you see more of them but i feel like you can try maybe take this camera as a and you finish with the other shot that i had and so that you're doing like a slight translate forward into the finish line with the camera and regarding how fast they are that's the thing they orbit fast i think i'm reading the guy more than the woman and since i'm reading down here yeah maybe it's better to stitch her you know unless you bring that into a story where he's fast i know i'm just thinking she comes past camera and it's really fast and then he comes in and comes to a stop and ends up in front of the camera like this and then you start an acting shot sorry my tool is lagging out of breath and was like wow how crazy how fast you was like this this could end up in a in a acting shot never mind these things too but yeah you're kind of a pointer maybe ditch her i can definitely read him more let's put it this way and then sorry i said more variation on poses for each other yeah i was just checking the head in terms of overlap also at that speed i'm looking at strobing you know like what poses are reading the most you can always see everything but i really like your arc up hold and high goes down and i can read that section really well that arc that goes in there super cool i really like this he's really great the only thing on him his head feels a bit i k just the sliding left and right there's something about it that's missing there's like in the ogre when you go on the on on this where it goes so much to the left where you want to you know he might be leading this with the chin a bit so that means it would be tilted off of it this way so the chin leads then you get to this pose and then that's where you are and then here on this move again you are needing him i'm not not that much obviously but you want it over this way if your head is just to see you know just a bit it's not just translate to me just was like a lot of same thing great arcs on arms the sideways moves it's cool yeah i like this a lot um you are talking about the knees should be always traveling they're pointed yeah maybe a bit i don't mind on him male characters is kind of okay so i told John Wayne thing yeah see the the knee traveling doesn't bother me i know what you what they mean especially because you go it hits his wall here and then it just travels all you would have to do is just to travel distance of this at this point you have to cheat a bit and a bring it a bit back and then throughout the whole thing um by the time you're here the leg will be a bit forward so your foot will be here meaning that on your plans see how you're planting down forward like you'd be putting you moving your foot forward and it's a plant so that's you see in walks how the foot goes forward and then on the down you actually go backwards of it and that's okay too so again if you at this point and your leg is a bit further back and then throughout all of this you move it a bit more forward so get that constant moves you're basically easing into that forward move on the thigh that will be one way maybe your shoulders are a bit much that seems to go up and down at the same time they're pretty big i like what they do maybe you can very uh change variation in terms of maybe the back one is higher than the front one right now i see it i see a shoulder move it's cool i give them attitude but i would i would love it to be more feeling than seeing so kind of reducing me a tiny bit but also maybe favoring one side and the other over the other it's really good you have a really nice balance i won't say wiggle but this is good good life to all the body parts like the side view works really well that'd be super picky maybe hurt there's something in her hip that feels wiggly where you go over to the right when you go here it feels like you're not moving to the left like you move to the left and you stop and then left and then you wiggle back to the middle stop and then over to the right and because of that it has a little bit of that stopping up which makes it overall maybe a tad wiggly it almost gives the illusion of a back and forth or the hip i don't feel like it's doing a waiting for my tool here doesn't feel like you're doing whoop whoop whoop whoop whoop left and right with the hips and you know at this point these sections are more pronounced because of the the steps and the impact it feels like it's a bit like whoa whoa whoa that's something uh that's not exactly a technical note you can write down what there's something wiggly that's it though again if i'm being picky super cool they're really good really that's work right that's it for me thank you all right there's an email 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